Academic literature on the topic 'Folk art, middle east'
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Journal articles on the topic "Folk art, middle east"
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Nabok, Maryna. "Ukrainian National Dumas: National Perceptions in the Process of Intercultural Communication." PSYCHOLINGUISTICS 24, no. 2 (October 3, 2018): 198–217. http://dx.doi.org/10.31470/2309-1797-2018-24-2-198-217.
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The article presents the results of empirical research on ethnopsychological groups of people living in different regions of Ukraine in the context of intercultural ideological systems. In particular, residents of Ukraine and foreign students from Africa and Middle East, which study at Sumy State University, were invited to share their impressions from the listened dumas, performed by Canadian bandurist Victor Mishalow during his concert tour in Ukraine. They also watched and listened to video recordings of such folk dumas as «Cossack Golota», «Marusya Boguslavka» performed by kobzar Mykola Budnyk and bandura player Fedir Zharko. Students analyzed the characters’ images, expressed their understanding and attitude to characters’ actions and compared them with the national heroes of their own countries.
The national peculiarities of the worldview of Ukrainians, representatives of Africa and the Middle East expressed in their language are defined. The language itself is the core of people’s psyche, way of thinking, and identity of ethnic group’s moral and ethical norms of life. The analysis of folk art helps to emphasize the peculiarity of foreign students’ perception of words, rhythm, music, and the symbolic system of folk poetic works. Author notes that the psychological of figurative system of Ukrainian dumas and folk songs of the mentioned peoples has a purely national color: it is a category of national outlook and at the same time is a artistic and aesthetic category.
The solution of these problems forms an understanding of the specific of national characters and the national world in folk poetic works of the peoples of Africa, the Middle East and Ukrainian folk dumas, which is the main purpose of the study and its novelty, because such typological comparisons are investigated for the first time.
These experimental studies, the development of the ideas of dumas studies and studies on a national character, the peculiarities of a national world perception, world outlook and world expression have substantiated the need for a deeper study of Ukrainian dumas’ role in the formation of the national personality during intercultural communication.
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Rumyantsev, V. P. "The Six-Day War of 1967: Folk Myths and “Battles of Historians”." Izvestiya of Altai State University, no. 6(116) (December 18, 2020): 57–61. http://dx.doi.org/10.14258/izvasu(2020)6-09.
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The article analyzes the role and influence of folk and historical myths on the process of forming the historical memory towards the Arab-Israeli war of 1967, which was one of the most significant events in international life in the Middle East. The disputes of historians about the causes, nature and consequences of this war create their own field of discussion. When the wars waged by the armies cease, other wars waged by historians begin. These wars are directly related to the creation of national identity and the formation of historical memory. The disputes of historians about the Six-Day War are actually not only about the past. They affect the present and future of the Middle East region and its chances for peace. On the one hand, some historians view Israel as a stronghold of the Western democracy surrounded by a hostile Arab world. Therefore they believe that the Israeli attack on Arab countries in 1967 was a justified act of self-defense. On the other hand, some historians believe that Arab-Israeli coexistence and cooperation are possible, so they are trying to prove that the war in 1967 could have been avoided by using the chances of a diplomatic resolution to the crisis. Those who tend to demonize the policy of the Russian Federation in the Middle East in the 21st century still see the insidious “hidden hand of Moscow” in the events occurred 50 years ago.
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Zh.D., Ramadanova. "Art as a reflection of the genetic cultural code (on the example of Kazakh folk dance)." Bulletin of the Karaganda university History.Philosophy series 107, no. 3 (September 30, 2022): 169–81. http://dx.doi.org/10.31489/2022hph3/169-181.
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This article presents the results of the study of the genetic cultural code, reflecting the spiritual values of the people on the example of the traditional dance-plastic art of the Ka- zakhs. As a research method, the author uses a semiotic analysis of movements and pos- tures of traditional Kazakh dance, which is part of the Turkic culture. The article provides definitions and functions of such terms as «art», «figurative language in art», «arche- type», «semantics», «semiotics». It also gives an analysis of the art of dance as a semiotic system, based on the fact that the language of dance, expressed by body movements, is non-verbal, containing signs and symbols that reflect, among other things, the subcon- scious thoughts and feelings of the dancer. The author, based on the symbols of sacred geometry and sign language, compares Kazakh national patterns and movements of Kazakh dance with similar names with the interpretation of the meaning of symbolic forms reflecting the cultural code of the people. In comparison, the author relies on the fact that the basis of the Kazakh ornament is made up of signs-symbols, for the development of which the folk masters are the source of the phenomena and objects of the surrounding world. As a result, elements of Kazakh dance are identified, which are common not only for the eastern peoples but also for the dances of the peoples of the Middle East and Egypt, which is indirect evidence of the common roots of the above cultures. The conclusions are partially confirmed by research works in the DNA genealogy of mankind, as well as by the works of a number of Türkologists
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Abdullayeva, Sevda, and Samira Gasimova. "XVII century Azerbaijani culture through the eyes of european travelers." Grani 24, no. 2 (February 28, 2021): 41–45. http://dx.doi.org/10.15421/172113.
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At the beginning of the 16th century, due to the establishment of the Safavid Empire of Azerbaijan, the culture of the people also developed significantly, especially due to the strengthening of the centralized political structure. “Language commonality, which is one of the factors of the national stage of public unity” was a reality that closely united the people of Azerbaijan in the 17th century.In the 17th century, Azerbaijan was remaining one of the most important cultural centers of the Near and Middle East. The ongoing Safavid-Ottoman wars at that time dealt a crushing blow to the cultural development of the people. Many famous Azerbaijani scientists were captivated and taken to Istanbul, and some were transferred to Qazvin and Isfahan. Only in the middle of the 17th century there was a certain revival in the development of science and education in Azerbaijan. There were various educational institutions in the cities of the country, which were the centers of crafts, trade and culture. In the Middle Ages, all educational institutions, including madrassas, neighbour schools, tekyehs, were, of course, religious in nature.A careful analysis of the information provided by medieval historians and travelers leads to the conclusion that book printing was not only known in Azerbaijan in the middle of the 17th century, but even a printing press was brought here. The French traveler Chardin writes that the Safavid Empire, aware of the benefits of printing, was in favor of bringing it to Iran.Generally, the history of Azerbaijan in the Middle Ages (as well as in the XVII century) had the character of a scientific chronicle. However, even the mere recording of real events served to develop the historical thinking of the people, to ensure the connection of inheritance. The expansion of folk art, the spread of cultural potential in the Near and Middle East was one of the features of the development of Azerbaijani culture in the 17th century. Unfavorable socio-economic and political processes had a negative impact on the development of culture in the country.
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Magomedov, Amirbek J., and Madina A. Omarkadieva. "TRADITIONAL CRAFTS OF DAGESTAN IN THE CONTEXT OF HISTORICAL AND CULTURAL RELATIONS WITH THE REGIONS OF RUSSIA, COUNTRIES OF THE CAUCASUS AND THE MIDDLE EAST." History, Archeology and Ethnography of the Caucasus 18, no. 2 (June 23, 2022): 284–305. http://dx.doi.org/10.32653/ch182284-305.
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The present study examines the formation and mass development of artistic crafts in Dagestan for the past millennium. The evolution of traditional arts and crafts of Dagestan can be seen through the history of their formation, contacts of the inhabitants with foreign cultures. The leading approach in the study of the problem that combines historical-cultural, historical-comparative and artistic-descriptive methods, which allow for a comprehensive consideration of the cultural influences of neighboring (Transcaucasia, Russia) and the Middle Eastern countries on the development of arts and crafts in Dagestan over the past millennium. The article shows that the spread of Islam, close contacts of Dagestan with the peoples of Transcaucasia, Iran, the Middle East, the accession of Dagestan to Russia, foreign cultural influences of the Soviet era provided prerequisites for the development of professional and folk arts and crafts in Dagestan. At the same time, the craftsmen of Dagestan not only borrowed, but also redesigned many other cultural and ethnic traditions, creating new artistic forms and phenomena, often of a world and regional level. The historical development of Dagestan, associated with the spread of Islam, the influence of the Transcaucasian, Iranian, Middle Eastern, Russian-European, Soviet traditions of artistic culture, contributed to the formation in Dagestan of the traditions of religious architecture, ordinary, glazed and painted ceramics, carpet weaving, weapons, jewelry, coppersmithing, decorative stone and wood carvings, embroidery with gold and silk thread, etc. The provided material is of great scientific value for historians of culture and art, ethnographers, practitioners of arts and crafts and fine arts, for specialists engaged in educational practice in schools and universities.
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Norris, H. T. "The Near and Middle East - Ann Parker and Avon Neal: Hajj paintings: folk art of the great pilgrimage. xxvii, 164 pp. Washington and London: Smithsonian Institution Press, 1995. £38.95." Bulletin of the School of Oriental and African Studies 60, no. 3 (October 1997): 553–54. http://dx.doi.org/10.1017/s0041977x00032699.
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Koudal, Jens Henrik. "Musikkens betydning på en større gård i mellemkrigstiden." Kulturstudier 4, no. 1 (May 29, 2013): 6. http://dx.doi.org/10.7146/ks.v4i1.8138.
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The meaning of music at a large farm during the inter-war periodThis article investigates music as culture from a historical, ethno-musicological perspective. Jens Henrik Koudal bases his work on the preserved music collection and large private archives of Christian Olsen (1881–1968), who was born and spent most of his life on the farm Torpelund in Zealand, Denmark. From Olsen’s collection, it is possible to make a historical reconstruction of the rich musical life that took place on the farm, and the purpose of the article is to examine what the musical activities meant to the Olsen family’s social and cultural identity; i.e., both their self-conceptualisation and their marking of identity towards their surroundings. The article’s method is rooted in a ‘broad’ concept of culture, along with Christopher Small’s concept ‘musicking’ and new musicology’s tendency to focus on the practice of music-making rather than on ‘great’ composers and books of music. Torpelund is compared to similar settings in England (e.g., East Suffolk around 1900, according to Carole Pegg) and Western concert halls (around 1980, according to Christopher Small).During the inter-war period, the Olsen family gathered together a circle of diverse people, including relatives, friends, business connections and other musicians, who all participated in the “musicking” as equals. Their repertoire consisted of classical and romantic art music from c. 1780–1890, plus the family’s old folk-dancing music (arranged by members of the family). In its own opinion, the circle’s music-making was a ‘higher’ kind of music that established clear distinctions towards lower social classes, towards other races (e.g., blacks with their ragtime and jazz) and towards modern music (e.g., art music and popular music). Specific to Torpelund are three concepts, which also characterise the social and cultural identity of the Olsen family: conservatism, privacy and exclusivity. The musical practices of the Olsens at Torpelund indicate that, during the inter-war period, the family represented a particular amalgamation of the peasant family, the part of the country (northwestern Zealand) and an international, middle-class education.
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Jawad, Rana, Daniel Béland, and Emmanuele Pavolini. "State of the Art: ‘The People’ and Their Social Rights: What Is Distinctive About the Populism-Religion-Social Policy Nexus?" Social Policy and Society 20, no. 2 (January 11, 2021): 267–81. http://dx.doi.org/10.1017/s1474746420000664.
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The aims of this review article are two-fold: (1) to set out the key theoretical trends in the study of religion, populism and social policy as antithetical concepts that also share common concerns; (2) to re-assert the relevance of social policy to the social and political sciences by making the case for studying outlier or indeed rival topics together – in this case populism and religion. Social policy scholars do not necessarily associate these two topics with modern social policy, yet they have a long history of influence on societies all over the world; populism is also especially timely in our current era. The article contributes to the literature by: (a) helping social policy better understand its diverse and at times contradictory constituencies; (b) contributing to a more complex and inclusive understanding of social policy and, therefore, social welfare. In setting out the state-of-the-art, the article also draws upon research on social policy which spans various continents (North America, Europe, the Middle East and North Africa and Latin America) and a preceding paper collaboration by the authors on religion and social policy (Pavolini et al., 2017).
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Akritidis, Dimitris, Andrea Pozzer, and Prodromos Zanis. "On the impact of future climate change on tropopause folds and tropospheric ozone." Atmospheric Chemistry and Physics 19, no. 22 (November 28, 2019): 14387–401. http://dx.doi.org/10.5194/acp-19-14387-2019.
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Abstract. Using a transient simulation for the period 1960–2100 with the state-of-the-art ECHAM5/MESSy Atmospheric Chemistry (EMAC) global model and a tropopause fold identification algorithm, we explore the future projected changes in tropopause folds, stratosphere-to-troposphere transport (STT) of ozone, and tropospheric ozone under the RCP6.0 scenario. Statistically significant changes in tropopause fold frequencies from 1970–1999 to 2070–2099 are identified in both hemispheres, regionally exceeding 3 %, and are associated with the projected changes in the position and intensity of the subtropical jet streams. A strengthening of ozone STT is projected for the future in both hemispheres, with an induced increase in transported stratospheric ozone tracer throughout the whole troposphere, reaching up to 10 nmol mol−1 in the upper troposphere, 8 nmol mol−1 in the middle troposphere, and 3 nmol mol−1 near the surface. Notably, the regions exhibiting the largest changes of ozone STT at 400 hPa coincide with those with the highest fold frequency changes, highlighting the role of the tropopause folding mechanism in STT processes under a changing climate. For both the eastern Mediterranean and Middle East (EMME) and Afghanistan (AFG) regions, which are known as hotspots of fold activity and ozone STT during the summer period, the year-to-year variability of middle-tropospheric ozone with stratospheric origin is largely explained by the short-term variations in ozone at 150 hPa and tropopause fold frequency. Finally, ozone in the lower troposphere is projected to decrease under the RCP6.0 scenario during MAM (March, April, and May) and JJA (June, July, and August) in the Northern Hemisphere and during DJF (December, January, and February) in the Southern Hemisphere, due to the decline of ozone precursor emissions and the enhanced ozone loss from higher water vapour abundances, while in the rest of the troposphere ozone shows a remarkable increase owing mainly to the STT strengthening and the stratospheric ozone recovery.
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Zavidovskaia, Ekaterina Alexandrovna, and Polina V. Rud. "Popular Religion in Early Republican China Based on Vasilii Alekseev’s Materials from to the Peter the Great Museum of Anthropology and Ethnography RAS (fund No. 2054)." Written Monuments of the Orient 6, no. 2 (February 9, 2021): 3–21. http://dx.doi.org/10.17816/wmo56798.
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One of the founding fathers of Russian sinology Vasiliy Mikhailovich Alekseev (18811951) had acquired an impressive collection during his ethnographic expedition to the southern regions of China (May 4 August 19, 1912), which was organized by the Russian Committee for Middle and East Asia Exploration and initiated by the Committee`s head, founder academician Vasilii Vasilievich Radlov (18371918). Alekseevs expedition stated from Vladivostok and passed through Harbin, Shanghai, Ningbo, Putuoshan, Fuzhou, Xiamen, Shantou, Guangzhou and ended up in Hong Kong. Alekseev has collected about 1083 artifacts making up a collection exclusively on popular Buddhist and Daoist religion, items of household usage, daily life and cult, as well as revolutionary leaflets and posters of 1912, now this collection is kept at the Peter the Great Museum of Anthropology and Ethnography of the Russian Academy of Sciences (MAE, RAS) with registration No.2054. During his earlier studies in China in 19061909 Alekseev acquired large collections of ethnographic materials and folk art (mainly popular woodblock prints nianhua 年畫) from the northern regions of China, which had later for the most part entered collections of the State Hermitage and the State Museum of the History of Religion (GMIR) in St.Petersburg. For his expedition of 1912 Alekseev had lined out a plan based on his observations of northern religious practices, e.g. he was particularly interested in the worship of City God chenghuang, child giving goddesses niangniang and God of Wealth caishen, but he quickly realized how different was the southern religious terrain and focused on local specifics.
This paper discusses a large portion of printed ritual texts used for religious purposes in Fujian and Guangdong provinces and dated by the early 20thc. Our survey of several dozens of printed materials from fund No.2054 reveals prevalence of documents used by ritual specialists Daoists for funerary rituals and ancestor worship, funeral various types of talismans occupy a central place. Apparently, the form and content of these texts have been preserved in the local religious practice up to present days.
Dissertations / Theses on the topic "Folk art, middle east"
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Archer, Amanda. "The folk arts of Oaxaca: integrating the pre-Columbian roots of the traditional folk arts of Oaxaca, Mexico into the middle school art curriculum." [Denver, Colo.] : Regis University, 2008. http://165.236.235.140/lib/AArcherPartI2008.pdf.
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Thomas, Jenna Caye. "Visions of the East: Influence of the Levant on the Italian Renaissance." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1448533555.
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Graves, Margaret Susanna. "Worlds writ small : four studies on miniature architectural forms in the medieval Middle East." Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/5489.
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While academic discussion of ornament within medieval Islamic art has laboured much over the codification and meaning of certain forms, there has been relatively little research to date on the visual and iconographic function of architecture as ornament in this context. Those few authors that have dealt with this issue have focused overwhelmingly on two-dimensional architectural representations, largely ignoring the considerable body of portable objects from the medieval Middle East that imitate architecture through three-dimensional forms, whether in a mimetically coherent fashion or in a more elliptical or reconfigured manner. This thesis proposes, first and foremost, that there is significant cultural meaning inherent in the use of architecture as an inspiration for the non-essential formal qualities of portable objects from the medieval Islamic world. Through iconographic analysis of the relationships that such objects form with architecture, an understanding of both full-size architecture and its miniature incarnations in the medieval urban context is advanced within the thesis. To maximise the intellectual scope of the study whilst still enabling an in-depth treatment of the material, four discrete studies of different object groups are presented. All of these are thought to date from approximately 1000 to 1350 CE, and to come from the core Middle Eastern territories of Persia, Syria and Egypt. The first chapter examines the glazed ceramic ‘house models’ believed to originate in late or post-Seljuq Persia. The second discusses six-sided ceramic tables from the same milieu, and more numerous related tables produced in Syria during the same period. In the third chapter carved marble jar stands from Cairo, apparently produced from the twelfth century onwards, are analysed. The final chapter, on metalwork, broadens its approach to encompass two very different strains of production: inkwells from Khurasan and incense burners from the breadth of the Middle East. Because much of the thesis focuses on material that has been dramatically understudied, it performs the primary action of compiling examples of each of the object types under study. Though this information is presented as a catalogue vi sommaire, this component of the thesis is not regarded as an end in itself. The major tasks of the thesis are the identification of the architectural tropes that are being evoked within each object group, analysis of the manner in which those forms have been modified to suit the miniature context of the objects, and the location of meaning within such diminutive evocations of architectural form. Through comparisons with other objects, full-size architecture, two-dimensional representations of architecture and historical texts, the thesis moves discourse on this type of motif in Islamic art beyond the traditional and sometimes superficial discussion of ‘ornament’, re-setting architectural iconography within larger contexts of urbanisation and city culture of the medieval Islamic world.
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Lic, Agnieszka. "Christian stucco decoration in southern Mesopotamia and the Persian Gulf region, sixth to ninth centuries." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:23636a63-9682-4a2a-b27b-49f2f3df59ac.
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Christian archaeology and art of the region under the jurisdiction of the Church of the East in the Late Antique and early Islamic period is an underresearched field of studies, which exists in between more developed disciplines such as Byzantine and Syriac studies as well as Early Christian, Sasanian and Islamic archaeology and art history. However, archaeological excavations of the last century, especially in southern Mesopotamia and the Persian Gulf region, now allow research to be conducted on the most important medium of artistic expression of the region - stucco. Considered from the technological, stylistic and iconographic point of view and within the aforementioned cultural contexts, it reveals that the Christian stucco production of the region was shaped by Sasanian traditions and contemporary Byzantine and Islamic influences, but also that it developed an innovative and highly creative vocabulary of forms and motifs. It was especially among the Gulf communities of Sir Bani Yas, al-Qusur and other sites that this transformative approach towards traditional and contemporary artistic models manifested itself within a short period between the late seventh and the early ninth centuries. Slightly more conservative is the character of Christian art of southern Mesopotamia in the eighth and early ninth centuries. An interesting exception is a relief found at a church in Koke in the region of Seleucia-Ctesiphon, in which the Sasanian technique of deep relief is combined with the Byzantine dress of the person represented. This fusion of culturally divergent elements testifies to the double identity of the Christians living under the Sasanians - and later, in the early Islamic caliphate - who were recognized as a part of society but distinctive for their religion.
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Hosseinioun, Mishana. "The globalisation of universal human rights and the Middle East." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:8f6bdf79-2512-4f32-840a-3565a096ae8d.
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The goal of this study is to generate a more holistic picture of the diffusion and assimilation of universal human rights norms in diverse cultural and political settings such as the Middle East and North Africa (MENA). The overarching question to be investigated in this thesis is the relationship between the evolving international human rights regime and the emerging human rights normative and legal culture in the Middle East. This question will be investigated in detail with reference to regional human rights schemes such as the Arab Charter of Human Rights, as well as local human rights developments in three Middle Eastern states, Egypt, the United Arab Emirates, and the Islamic Republic of Iran. Having gauged the take-up of human rights norms on the ground at the local and regional levels, the thesis examines in full the extent of socialisation and internalisation of human rights norms across the Middle East region at large.
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Ghiabi, Maziyar. "Drugs, addiction and the state in Iran : the art of managing disorder." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:c2cbaeb6-502b-4383-b975-2812602f1efa.
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This thesis explores the politics of drugs and addiction in Iran in light of processes of state formation. The case of Iran provides a paradigm of what has come to be known as the 'War on Drugs' in a political and cultural setting that has been characterised, by most of the area studies literature, by other investigations and scholarly questions. Iran, nevertheless, represents an outstanding case for the study of the War on Drugs; it is at the geopolitical crossroads of international drug routes, it has one of the world highest rates of drug 'addiction' - estimated at between 2-3% and 6-7% of the entire population - and it has progressively seen the rise of synthetic, industrial drugs, such as methamphetamines (shisheh). The thesis situates the phenomenon of drug use in the social and political history of Iran with a particular attention to the transformations taking place after the Islamic Revolution in 1979. It provides a genealogical map of policy experimentations in the field of drugs, while it also casts light on the rationale that governs the formation and transformation of state practices vis à vis drugs, especially during the reformist and post-reformist period (1997-2013). To do so, the research combines extensive archival research using Persian sources (newspapers, reports, films, memoires, etc.) starting from the early 1900s, with ethnographic fieldwork in public clinics, rehab centres, drug using hotspots and, more generally, the street. The outcome is an in-depth engagement with narcotic politics, which unearths unstudied dynamics of Iran's contemporary politics and society. Instead of moralising approaches, what is unveiled is a state that adopts both rhetoric and practice that are secularised and in tune with Western models of policymaking. Eventually, the thesis reveals how the image of the Iranian state has not only been misplaced, but it has also been a myth.
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Badawi, H. "The potential for installations to create new directions for Saudi Arabian art." Thesis, Coventry University, 2011. http://curve.coventry.ac.uk/open/items/0fcc12b6-5baf-4892-a1d2-f06776a58cc5/1.
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In 2001 when this research commenced, there was little understanding in Saudi Arabia of the opportunities digital art could provide for artists, how it could be integrated with or used instead of painting, and the effects the enlarged vocabulary could have in communicating difficult social issues. As a result, this study aimed at filling a gap in knowledge through reviewing contemporary Saudi art. This, in turn, helped me to understand the position of my practice. The study also aimed at developing a means of expression in which traditional art can be combined with digital media and showing how this combination provides a new direction for Saudi art by raising awareness in Saudi Arabia about complex issues. In addition, the study aimed at determining the acceptability of this new form of art to artistically literate Saudi artists through gathering audience’s reactions to the developed artefacts. This study comprised of several stages: discovering the state of art in Saudi Arabia and where it fits into the global stage; documenting my journey as an artist and understanding my practice; the creation of the installation and its reception, all of which was documented in a reflective journal. Through reflecting on my practice, I transformed my work from simple traditional pieces of art to more complex installations concerning everyday gender politics. I interviewed 20 practicing artists, noting that the majority of their work used traditional forms of art rather than digital art. A week-long exhibition on gender differences in Saudi Arabia was held in Jeddah, Saudi Arabia. The feedback from the exhibition showed that, although there is not a strong appreciation of digital art in Saudi Arabia, the audience was able to understand the different components of the installations and the underlying issues being portrayed. They were able to bring their own experiences to the situation and reflected on the installations accordingly. The study contributes to knowledge by providing a review of contemporary Saudi Artists as there is no significant literature that documents this in Saudi Arabia. It also contributes to knowledge by exploring and developing artefacts that incorporate different technologies and by showing that digital media and traditional art can be used together to articulate complex social issues arising in everyday Saudi life. Finally, it fills a gap in knowledge of how Saudi audiences engage with works that use a combination of traditional and new art to express such issues.
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Miller, Aimee H. "Goddesses of Color: Interfaith Altars." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/773.
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This paper explores the intertwined history of certain goddesses of the Middle East and the Americas. This history informs the original invented contemporary deities that my project centers around. Using recycled materials and collected objects, my project displays two religious altars, one from my heritage and one from my experience living in Brazil. One altar is based on afro-Brazilian sea goddesses, and one is a contemporary imagined interpretation of a Judeo-Christian female figure. The two altars together compose an installation that seeks to unify a pagan practice and two distinct monotheistic traditions while still honoring their separate parts. These parts is built in the studio.
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Cornet, Catherine. "In Search of an Arab Renaissance : artists, Patrons and Power in Egypt and the Middle East (2001-2013)." Paris, EHESS, 2016. http://www.theses.fr/2016EHES0091.
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Le paradigme de la Nahda, ou Renaissance arabe est un puissant zeitgeist qui revient cycliquement dans la pensée et le monde culturel du Moyen-Orient depuis la fin du 19eme siècle. Cette thèse questionne les raisons du retour du paradigme dans les années 2000 (et en particulier entre 2001 et 2005) en Egypte et dans les Emirats (Doha et Sharjah) en observant les rapports de force entre différentes sphères artistiques et les structures de mécénat. Elle interroge la raison d'être de cette quête pour une Renaissance culturelle, les enjeux liées au mécénat, l'exploitation politique du culturel et en particulier les questions d'authenticité, de culture nationale et globale, musulmane ou séculière, d'indépendance et enfin, de liberté artistique. L'étude du paradigme passe à travers la comparaison des discours et des oeuvres des 'artistes d'états' soutenus par le pouvoir de Moubarak, des artistes commerciaux, qui derrière Adel Imam, sont les fers de lance du pouvoir séculier contre les islamistes égyptiens; et des artistes arabes et internationaux qui à Doha ou Sharjah gravitent autour du riche mécénat des Emirats. En opposition à l'état, plusieurs sphères sont étudiées: celle des artistes 'indépendants' mais soutenus par les fondations privées ainsi que la sphère des artistes musulmans qui proposent un fan al hadif, ou 'art modeste'. La sphère des artistes digitaux enfin, autonomes par rapport aux réseaux de mécénat, permet de confirmer l'existence d'une réelle Renaissance culturelle digitale soutenue par l'explosion des réseaux sociaux, une décennie avant les révolutions arabes. En questionnant la position des artistes vis à vis de leurs mécènes et par rapport au pouvoir, cette thèse souligne l'importance du discours culturel et artistique pour la sphère publique et ses répercussions sur les enjeux de citoyennetéThe Nahda, or "Arab Renaissance" is a powerful returning paradigm in Egypt and the Middle East cultural field since the end of the 19th century. The aim of this dissertation is to assess, through the study of the new paradigm, the autonomy of the arts in Egypt and the Middle East and their relation to power and to interrogate the role of art in identity definition and in the "dialogue" with Islam after 9/11 - and especially after foreign actors have greatly re-shuffled the power relationship. The first case study focuses on "state artists" in Egypt and studies the passage from the Tahtqif, or "culturisation" of Egyptians in the name of Enlightenment and the gradually undermining of state monopoly over identity politics. The second chapter is dedicated to Arab artists and their Gulf patrons: the agency of the "invisible hand" of the global artistic market is discussed, through two case studies in Doha and Sharjah. The third chapter assesses the state narrative against Islamists in Egypt through the figure of comedy actor Adel Imam. The second part is dedicated to the artists in opposition to the state. Chapter I reviews the agency of the artistic sphere in total opposition with the state, with the study of a group of young Muslim filmmakers who intented to contribute to a fann al hadif or "purposeful art". The two following chapters review the works of the "independent scene" that saw the light after the arrival arrival en masse of foreign funding in 2001, while the last case studies centred on Digital artists venture into giving the first hints of a conclusion about a Digital Renaissance that took place after after 2004, and of the adoption of social networks in Egypt. The importance of the arts in the political discourse, its agency in the process of secularization, nationalist debates or international relations in the time of globalisation, is barely mentioned in political science. This dissertation is intended to corroborate the claim that there is much to learn from the art spectrum and from its agency on societal changes and power struggles
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Huxley, Margaret. "The signs of the zodiac in the art of the Near and Middle East up to and including the earlier Islamic period." Thesis, SOAS, University of London, 1985. http://eprints.soas.ac.uk/29029/.
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The scientific importance of the zodiac to the astronomers and astrologers of antiquity can be gauged from Babylonian cuneiform sources and Greek and Latin technical treatises. Less accessible is the history of the signs, and their meanings and allusions in extant works of art, as on these subjects the ancients themselves were ambivalent. This study, by an analysis of the iconographic evidence, seeks to uncover the origins of the twelve images that make up the zodiac cycle and to trace something of their subsequent history in the Graeco-Roman world and the Middle East, up to the earlier Islamic period. On the pictorial evidence of the seals, boundary stones, and other works of art, the thesis will contend, despite a few dissenting voices, that priority in the recognition of the zodiac, and the development of its characteristic images belongs to Mesopotamian civilization. Several of the constellation figures had already been identified by the early second millennium B.C., and the remainder are attested before the beginning of the first millennium. The fully-formed zodiac was in use in Mesopotamia by c. 500 B.C. and was diffused from that area. Literary evidence establishes that the zodiacal constellations were known in the Greek world before the time of Alexander, though following his visit to Babylon the popularity of the topic was greatly enhanced. Thus, in the Hellenistic period the zodiac was adopted into the iconography of kingship, a role that it maintained in the courts of Imperial Rome. An extensive investigation of the zodiac's assimilation into the religious iconography of the Roman empire is undertaken, especially in those cults where the deity was identified with a celestial body, or linked with the abstract concept of Time, for example, of Mithras, Sarapis, Artemis and Aion. The large number of extant zodiac monuments indicates its importance as an icon, while minor variations between one cycle and another suggest changing nuances of meaning in different contexts. The zodiac's power over human destiny was a concept so well-entrenched in popular imagination that the rise of the great monotheistic religions, Judaeism, Christianity and Islam, may have changed its status but hardly diminished its prevalence. In Levantine synagogues, and even in the Qur'an itself, the constellations and planets, though no longer deities in their own right, were still regarded as legitimate powers under God. Sasanian imperial iconography also employed the zodiac, a fact which probably had an effect on the symbols of kingship in Islam, and influenced the choice of iconography of at least one Umayyad prince. The sustained link between the zodiac and royalty is one important theme that has emerged from this study. A second is that the zodiac, though composed of twelve standard signs, could be varied in small ways to express religious or astrological doctrines, and that these variations can sometimes provide information about the monument or its background. Though little discussed by classical archaeologists, the zodiac has a more important part in Roman art than is generally admitted. Over a very long period of time the zodiac proved to be a remarkably versatile symbol. Its imagery represented an important scientific innovation whose evolution in the Middle East is demonstrated by the iconographic evidence, here comprehensively assembled for the first time. Afterwards, the zodiac was universally accepted, both in European and Oriental civilizations.
Books on the topic "Folk art, middle east"
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Roode, Sigrid van. Desert silver: Nomadic and traditional silver jewellery from the Middle East and North Africa. Amsterdam: KIT Publishers, 2010.
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Amirsadeghi, Hossein, Layla S. Diba, Maryam Homayoun Eisler, and Ashkan Sahihi. Art & patronage: The Middle East. London: Thames & Hudson, 2010.
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Sloman, Paul. Contemporary art in the Middle East. London: Black Dog Pub., 2009.
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Josenhans, Frauke. Modern art from the Middle East. Edited by Salisbury, Edward Elbridge, 1814-1901, honoree and Yale University Art Gallery. [New Haven, Conn.]: Yale University Art Gallery, 2015.
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Gallery, Saatchi, ed. Unveiled: New art from the Middle East. [London]: Booth-Clibborn, 2009.
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Rooney, Dawn. Folk pottery in South-East Asia. Singapore: Oxford University Press, 1987.
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Wijdan, Ali, Bisharat Suhail, Jordan National Gallery of Fine Arts., Barbican Centre, and Royal Society of Fine Arts (Amman, Jordan), eds. Contemporary art from the Islamic world. London: Scorpion Publishing on behalf of The Royal Society of Fine Arts, Amman, 1989.
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Victoria and Albert museum. Palace and mosque: Islamic art from the Middle East. London: V & A Publications, 2004.
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Eigner, Saeb. Art of the Middle East: Modern and contemporary art of the Arab world and Iran. London: Merrell, 2010.
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Porter, Venetia. Word into art: Artists of the modern Middle East. London: British Museum Press, 2006.
Find full textBook chapters on the topic "Folk art, middle east"
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Scheid, Kirsten. "Start with the art." In Routledge Handbook of Middle East Politics, 432–45. New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781315170688-34.
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Azara, Pedro, and Marc Marín. "Ancient “art” in the white cube?" In Museums and the Ancient Middle East, 27–37. Milton Park, Abingdon, Oxon: Routledge, 2019. | Series: Routledge research in museum studies; 11: Routledge, 2018. http://dx.doi.org/10.4324/9781351164160-3.
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Abdul-Dayyem, Mariam. "The Art of Presence." In Routledge Handbook on Women in the Middle East, 384–93. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315165219-34.
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Lacovara, Peter. "Exhibiting ancient Middle Eastern art in America 1." In Museums and the Ancient Middle East, 227–42. Milton Park, Abingdon, Oxon: Routledge, 2019. | Series: Routledge research in museum studies; 11: Routledge, 2018. http://dx.doi.org/10.4324/9781351164160-16.
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Scheid, Kirsten. "Art as Material Form and Agent." In Routledge Handbook on Women in the Middle East, 433–53. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315165219-38.
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Alraouf, Ali A. "The Trilogy of Heritage, Public Art and Public Spaces: The Case of Fire Station Art and Cultural Development, Doha, Qatar." In Urban Challenges in the Globalizing Middle-East, 87–105. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69795-2_7.
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Dunne, Charles W. "Iraq: Policies, Politics, and the Art of the Possible." In America’s Challenges in the Greater Middle East, 11–29. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230119598_2.
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aamiry-khasawnih, alma. "Women's Participation in Public and Street Art." In Routledge Handbook on Women in the Middle East, 394–406. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315165219-35.
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Emberling, Geoff, and Katharyn Hanson. "Cultural Heritage across the Middle East, Ancient and Modern." In A Companion to Ancient Near Eastern Art, 637–60. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2018. http://dx.doi.org/10.1002/9781118336779.ch26.
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Altef, Safea. "Cultural Identity in Libyan and Yemeni Social Media Visual Art." In Media and Democracy in the Middle East, 100–117. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003214625-8.
Full textConference papers on the topic "Folk art, middle east"
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Alikhan, Abbas A., and S. M. Farouq Ali. "State-Of-The-Art Of Water Coning Modelling And Operation." In Middle East Oil Technical Conference and Exhibition. Society of Petroleum Engineers, 1985. http://dx.doi.org/10.2118/13744-ms.
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Al-Marhoun, Muhammad Ali. "Black Oil Property Correlations - State of the Art." In SPE Middle East Oil & Gas Show and Conference. Society of Petroleum Engineers, 2015. http://dx.doi.org/10.2118/172833-ms.
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Hisarligil, Hakan. "THE “KELVIN CONJECTURE” IN MEDIVEAL ART IN THE MIDDLE EAST." In 21st International Academic Conference, Miami. International Institute of Social and Economic Sciences, 2016. http://dx.doi.org/10.20472/iac.2016.021.014.
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El-Hawary, Mohamed E. "The Smart Grid—State-of-the-art and future trends." In 2016 Eighteenth International Middle East Power Systems Conference (MEPCON). IEEE, 2016. http://dx.doi.org/10.1109/mepcon.2016.7836856.
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Ayyaswami, Arul, and S. Vishwanathan. "State Of The Art Of Remediation For Petroleum Industries." In Middle East Health, Safety, Security, and Environment Conference and Exhibition. Society of Petroleum Engineers, 2010. http://dx.doi.org/10.2118/136529-ms.
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Baig, Farooq Anwar, Ali Alhasawi, and Marco Aburto Perez. "The Art of Short Radius Drilling – Best Practices to Consistently Deliver Wells." In SPE/IADC Middle East Drilling Technology Conference and Exhibition. SPE, 2021. http://dx.doi.org/10.2118/202166-ms.
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Abstract Short radius wells typically incorporate build rates between 35deg per 100ft and 70deg per 100ft. These wells are typically drilled to minimize exposure of a problematic zone above the target or to reduce geological uncertainty. This paper will discuss best practices and equipment developed specifically for delivering these wells in the Middle East. Case histories will illustrate the close collaboration with the operator resulting in performance step change for short radius drilling. The approach is based on a rigorous Drilling Engineering process. Such process is divided in four major steps; design, execute, evaluate and optimize. One of the first key steps is to perform a diligent risk assessment ensuring the customer objectives are achieved. This resulted in the development and implementation of technological innovations on downhole motors and Measurements While Drilling (MWD) tools to achieve the required high build rates safely and consistently. Proper communication was crucial for flawless execution, and meticulous documentation enabled proper evaluation and optimization of the art of short radius drilling. For over 10 years, multiple short radius wells have been consistently delivered meeting their objectives; from successful sidetracking operations, accurate curve landing, optimum geo-steering, valuable Logging While Drilling (LWD) data collection, to extending the life of the wells by maximizing their production. The last two steps of the Drilling Engineering cycle (evaluate and optimize) have been the foundation of the continuous improvement process; targeting adequate equipment maintenance, Bottom Hole Assembly (BHA) design and operational practices to ensure consistent results. The paper will recap the drilling engineering cycle for wells drilled recently. The discussed best practices have enabled master the art of short radius drilling. Such distinctive knowledge should be shared with the entire oil and gas industry. The paper captures the engineering approach to tackle the traditional challenges of drilling short radius wells. It also discusses the reliable solution for drilling short radius wells in Middle East which are planned to access new reserves from an existing infrastructure, while minimizing drilling and geological risks.
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Abdel-Fadil, Reyad, and Laszlo Szamel. "State of the Art of Switched Reluctance Motor Drives and Control Techniques." In 2018 Twentieth International Middle East Power Systems Conference (MEPCON). IEEE, 2018. http://dx.doi.org/10.1109/mepcon.2018.8635219.
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Nooraldeen, Yasser, Zainab Derbas, Yousif Zainal, Rami Esbai, Khalil AlQassab, Hamza Alkooheji, Mohamed Almal, Kranthi Bandla, Ali AlNowakhda, and Sreeharshan Samineni. "Gas Lifted and Naturally Flowing Wells Exception Process via GIS - A State of the Art Surveillance Process." In SPE Middle East Artificial Lift Conference and Exhibition. Society of Petroleum Engineers, 2018. http://dx.doi.org/10.2118/192499-ms.
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Al Habsi, Yumna, Ali Anbari, Azzan Al Yaarubi, Richard Leech, Sumaiya Al Bimani, and Suryyendu Choudhury. "Unlocking Growth Opportunities Through Saturation Evaluation Behind Complex Completion by Applying State-of-Art Pulsed Neutron Technology." In SPE Middle East Oil & Gas Show and Conference. SPE, 2021. http://dx.doi.org/10.2118/204783-ms.
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Abstract Perseverance in quantifying the remaining hydrocarbon saturation, in cased boreholes, remains critical to take business decisions and prioritize operations in brownfield waterflood development. Challenges with cased hole saturation evaluation acquired in certain complex completions such as those completed in multiple casing-tubing strings, slotted-liners and sand-screens require advanced tool technology. Pulsed Neutron Logging (PNL) is one such technology used successfully to analyze behind casing saturation evaluation. The PNL device provide accurate and precise measurement, and with robust processing and environmental compensation corrections, the saturation uncertainty can be delineated. A robust cased hole hydrocarbon saturation and uncertainty estimation enables informed decision making and value driven workover prioritization. The new generation PNL tool features a high-output electronic neutron source and four signal detectors. Near and far Gamma Ray (GR) detectors are made of Cerium-doped Lanthanum Bromide (LaBr3: Ce) featuring high-count rate efficiency and high-spectral resolution (largely insensitive to temperatures variations). A deep-reading GR detector made of Yttrium Aluminum Perovskite (YAP) in combination with a compact fast neutron monitor placed adjacent to the neutron source, enables a new measurement of the fast neutron cross section (FNXS) which provides sensitivity to gas-filled porosity. A newly devised pulsing scheme allows simultaneous measurement in both time and energy domains. The time-domain measurement aid in analyzing the self-compensated capture cross section (SIGM), neutron porosity (TPHI), and FNXS. The energy-domain measurement provides a detailed insight for high-precision mineralogy, total organic carbon (TOC), and carbon/oxygen ratio (COR). The high statistical precision energy-domain capture and inelastic spectral yield data are interpreted using an oxide-closure model which when combined with an extensive tool characterization database provide lithology and saturation measurements compensated for wellbore and completion contributions. This paper shares the advanced features of the new multi-detector PNL tool run in a horizontal well targeting the aeolian Mahwis Formation, consisting of unconsolidated sands and the glacial Al Khlata Formation (Porosity ranges 0.25 – 0.29 p.u.). In this case-study, the well was completed with uncemented sand screens and production tubing to mitigate sanding related risk. The absence of cement behind casing and the presence of screens adds considerable complexity to the saturation analysis. Furthermore, due to low water salinity (∼7000 ppm NaCl equivalent), saturation must be determined using carbon spectroscopy-based techniques - namely the COR and TOC. Logging conventional PNL tools in horizontal wells can lead to lengthy acquisition times, thus adding considerable operational complexity and cost. With the new PNL technology advancements, the time required to acquire high-quality data can be halved. Saturation outputs computed independently from COR and TOC methods showed close agreement and allowed for the direct compensation of changes in borehole oil hold-up without which the computed saturation would have been overestimated. The remaining oil saturation estimation behind cased hole and uncertainty quantification enable a proper understanding of well production performance and uncovered further opportunities. In addition, decision based strategic data acquisition to quantify remaining hydrocarbon saturation enables unlocking growth and ‘no further action’ (NFA) opportunities, impacting production recovery and meeting bottom-line targets in brownfield assets.
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Khan, Mohammad Rasheed, Shams Kalam, Abdul Asad, and Sidqi A. Abu-khamsin. "Development of a Deterministic Total Organic Carbon (TOC) Predictor For Shale Reservoirs." In Middle East Oil, Gas and Geosciences Show. SPE, 2023. http://dx.doi.org/10.2118/213350-ms.
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Abstract Unconventional reservoirs like shale oil/gas are expected to play a major role in many unexplored regions, globally. Shale resource evaluation involves the estimation of Total Organic Carbon (TOC) which correlates to the prospective capability of generating and containing hydrocarbons. Direct measurement of TOC through geochemical analysis is often not feasible, and hence researchers have focused on indirect methods to estimate TOC using analytical and statistical techniques. Accordingly, this work proposes the application of artificial intelligence (AI) techniques to leverage routinely available well logs for the prediction of TOC. Multiple algorithms are developed and compared to rank the most optimum solution based on efficiency analysis. Support Vector Regression (SVR), Random Forest (RF), and XGBoost algorithms are utilized to analyze the well-log data and develop intelligent models for shale TOC. A process-based approach is followed starting with systematic data analysis, which includes the selection of the most relevant input parameters, data cleaning, filtering, and data-dressing, to ensure optimized inputs into the AI models. The data utilized in this work is from major shale basins in Asia and North America. The AI models are then used to develop TOC predictor as a function of fundamental open-hole logs including sonic, gamma-ray, resistivity, and density. Furthermore, to strengthen AI input-output correlation mapping, a k-fold cross-validation methodology integrating with the exhaustive-grid search approach is adopted. This ensures the optimized hyperparameters of the intelligent algorithms developed in this work are selected. Finally, developed models are compared to geochemically derived TOC using a comprehensive error analysis schema. The proposed models are teted for veracity by applying them on blind dataset. An error metrics schema composed of root-mean-squared-error, and coefficient of determination, is developed. This analysis ranks the respective AI models based on the highest performance efficiency and lowest prediction error. Consequently, it is concluded that the XGBoost and SVR-based TOC predictions are inaccurate yielding high deviations from the actual measured values in predictive mode. On the other hand, Random Forest TOC predictor optimized using k-fold validation produces high R2 values of more than 0.85 and reasonably low errors when compared to true values. The RF method overpowers other models by mapping complex non-linear interactions between TOC and various well logs.
Reports on the topic "Folk art, middle east"
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Snead, III, and Lawrence R. Wavell's Campaigns in the Middle East: An Analysis of Operational Art and the Implications for Today. Fort Belvoir, VA: Defense Technical Information Center, May 1994. http://dx.doi.org/10.21236/ada284720.
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Jackson, G. D. Bedrock geology, northwest part of Nuluujaak Mountain, Baffin Island, Nunavut, part of NTS 37-G/5. Natural Resources Canada/CMSS/Information Management, 2021. http://dx.doi.org/10.4095/314670.
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The map area lies about 40 km northwest of Baffinland's iron mine. Dykes of unit mAnA3 within unit mAnA2 suggest that unit mAnA2 predates unit mAnA3. Unit nAMqf, basal Mary River Group unit, includes regolith material from units mAnA2 and mAnA3. Unit mAnAm may include some dykes of unit nAMb. The Mary River Group was deposited in a volcanic-arc environment, yielding zircon U-Pb ages mostly in the range of 2.88 to 2.72 Ga. Iron-formation (unit nAMi) is approximately 276 m thick locally, with oxide facies (unit nAMio) being most abundant. The quartzite triangle west of 'Iron lake' (unofficial name) may be a small horst. The main east-west-trending synclinal fold, including the area around 'Iron lake' and the no. 4 ore deposit, is upright, nearly isoclinal, and plunges mostly easterly at both ends with small scale anticlines and synclines in the middle. Magnetite constitutes about 75% of high-grade iron deposits in the north limb, whereas hematite predominates in south-limb deposits. K-Ar and Rb-Sr ages indicate middle Paleoproterozoic overprinting. Central Borden Fault Zone was active at ca. 1.27 Ga and during or after Ordovician time. Note: please be aware that the information contained in CGM 408 is based on legacy data from the 1960-1990s and that it has been superseded by regional-scale information contained in CGM 403.
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Lane, L. S., and S. Zhao. Bedrock geology, Mount Huley and Mount Harbottle, Yukon, NTS 116-G/15 and 16. Natural Resources Canada/CMSS/Information Management, 2023. http://dx.doi.org/10.4095/329451.
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This map encompasses two 1:50 000 scale map areas at the southw estern margin of Eagle Plain sedimentary basin, in the northern Canadian Cordillera. The eastern part is underlain by the Upper Cretaceous Park in, Fishing Branch, Burnthill Creek , and Cody Creek formations of the Eagle Plain Group, w here shale and sandstone beds dip gently eastw ard to northw ard. The w estern part of the map contains three large anticlinesyncline pairs trending north-northw est-south-southeast that expose Low er Cretaceous W hitestone R iver Formation lying unconformably on Paleoz oic strata of Middle Devonian to Permian age, comprising Ogilvie, Hart R iver, Ettrain, and J ungle Creek formations. The folds define domes and basins reflecting the influence of two orthogonal fold-thrust events during Cretaceous- Paleogene Cordilleran deformation. At the level of the Cretaceous units, the synclines define symmetrical continuous structures, w hereas the anticlines, exposing Paleoz oic strata, define asymmetric en échelon structures suggesting that pre-existing structural or stratigraphic trends influenced their deformation.
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Zhang, Hongbin, Shahal Abbo, Weidong Chen, Amir Sherman, Dani Shtienberg, and Frederick Muehlbauer. Integrative Physical and Genetic Mapping of the Chickpea Genome for Fine Mapping and Analysis of Agronomic Traits. United States Department of Agriculture, March 2010. http://dx.doi.org/10.32747/2010.7592122.bard.
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Chickpea is the third most important pulse crop in the world and ranks first in the Middle East; however, it has been subjected to only limited research in modern genomics. In the first period of this project (US-3034-98R) we constructed two large-insert BAC and BIBAC libraries, developed 325 SSR markers and mapped QTLs controlling ascochyta blight resistance (ABR) and days to first flower (DTF). Nevertheless, the utilities of these tools and results in gene discovery and marker-assisted breeding are limited due to the absence of an essential platform. The goals of this period of the project were to use the resources and tools developed in the first period of the project to develop a BAC/BIBAC physical map for chickpea and using it to identify BAC/BIBACcontigs containing agronomic genes of interest, with an emphasis on ABR and DTF, and develop DNA markers suitable for marker-assisted breeding. Toward these goals, we proposed: 1) Fingerprint ~50,000 (10x) BACs from the BAC and BIBAC libraries, assemble the clones into a genome-wide BAC/BIBAC physical map, and integrate the BAC/BIBAC map with the existing chickpea genetic maps (Zhang, USA); 2) fine-map ABR and DTFQTLs and enhance molecular tools for chickpea genetics and breeding (Shahal, Sherman and DaniShtienberg, Israel; Chen and Muehlbauer; USA); and 3) integrate the BAC/BIBAC map with the existing chickpea genetic maps (Sherman, Israel; Zhang and Chen, USA). For these objectives, a total of $460,000 was requested originally, but a total of $300,000 was awarded to the project. We first developed two new BAC and BIBAC libraries, Chickpea-CME and Chickpea- CHV. The chickpea-CMEBAC library contains 22,272 clones, with an average insert size of 130 kb and equivalent to 4.0 fold of the chickpea genome. The chickpea-CHVBIBAC library contains 38,400 clones, with an average insert size of 140 kb and equivalent to 7.5 fold of the chickpea genome. The two new libraries (11.5 x), along with the two BAC (Chickpea-CHI) and BIBAC (Chickpea-CBV) libraries (7.1 x) constructed in the first period of the project, provide libraries essential for chickpea genome physical mapping and many other genomics researches. Using these four libraries we then developed the proposed BAC/BIBAC physical map of chickpea. A total of 67,584 clones were fingerprinted, and 64,211 (~11.6 x) of the fingerprints validated and used in the physical map assembly. The physical map consists of 1,945 BAC/BIBACcontigs, with each containing an average of 39.2 clones and having an average physical length of 559 kb. The contigs collectively span ~1,088 Mb, being 1.49 fold of the 740- Mb chickpea genome. Third, we integrated the physical map with the two existing chickpea genetic maps using a total of 172 (124 + 48) SSR markers. Fourth, we identified tightly linked markers for ABR-QTL1, increased marker density at ABR-QTL2 and studied the genetic basis of resistance to pod abortion, a major problem in the east Mediterranean, caused by heat stress. Finally, we, using the integrated map, isolated the BAC/BIBACcontigs containing or closely linked to QTL4.1, QTL4.2 and QTL8 for ABR and QTL8 for DTF. The integrated BAC/BIBAC map resulted from the project will provide a powerful platform and tools essential for many aspects of advanced genomics and genetics research of this crop and related species. These includes, but are not limited to, targeted development of SNP, InDel and SSR markers, high-resolution mapping of the chickpea genome and its agronomic genes and QTLs, sequencing and decoding of all genes of the genome using the next-generation sequencing technology, and comparative genome analysis of chickpea versus other legumes. The DNA markers and BAC/BIBACcontigs containing or closely linked to ABR and DTF provide essential tools to develop SSR and SNP markers well-suited for marker-assisted breeding of the traits and clone their corresponding genes. The development of the tools and knowledge will thus promote enhanced and substantial genetic improvement of the crop and related legumes.
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Morriss, Matthew C. Interim Geologic Map of the Vernal NE Quadrangle, Uintah County, Utah. Utah Geological Survey, June 2024. http://dx.doi.org/10.34191/ofr-762.
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The Vernal NE 7.5' quadrangle is located at the northern boundary of the Colorado Plateau physiographic province, within the Uinta Basin sub-province (Fenneman and Johnson, 1946). The Middle Rocky Mountains, in Fenneman and Johnson’s (1946) classification, is located east and north of the quadrangle. The quadrangle includes Ashley Valley, centered on Ashley Creek, which drains the southern flank of the Uinta Mountains. The western part of the quadrangle is defined by the northwest-southeast-trending Asphalt Ridge and the west-dipping slope along the flank of the ridge. The northeastern part of the quadrangle is largely hills composed of Mancos Shale with a cap of pediment gravel (Sprinkel, 2006). The alluvial valley of Ashley Creek has developed into three distinct communities: Maeser, Naples, and Vernal, which is the most populous city and the County Seat. Nearly all of Ashley Valley is privately owned, allowing for continued growth of these communities and extensive farming operations. Tracts of the quadrangle along its western and eastern edges are a mix of Utah School and Institutional Trust Lands Administration and Bureau of Land Management (BLM) lands. The primary goals of this map are to provide up-to-date geologic information on the geology surrounding Vernal for the urbanized valley and to break out more detail on Mesozoic units in this region of the Uinta Basin. This work builds on previous mapping by Doug Sprinkel (UGS, retired) (Sprinkel, 2007, 2023). Geology on the periphery and for edge-matching was provided at the 1:24,000 scale through maps of the Dry Fork, Steinaker Reservoir, Donkey Flat, and Vernal NW quadrangles (Haddox et al., 2010; Jensen et al., 2016; Webb, 2017). Mapping was conducted using a combination of black-and-white stereographic photographs from 1937, 1938, and 1974 (U.S. Department of Agriculture [USDA], 1937; BLM, 1974) and from 1-meter-resolution light detection and ranging (lidar) data (U.S. Geological Survey, 2018). Mapping was aided with the help of relative elevation models, a derivative from a digital elevation model (DEM), to ascertain the elevation of different terrace treads above the modern river channel (Slaughter and Hubert, 2014; Larrieu, 2022).
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Anderson, Zachary W., Greg N. McDonald, Elizabeth A. Balgord, and W. Adolph Yonkee. Interim Geologic Map of the Browns Hole Quadrangle, Weber and Cache Counties, Utah. Utah Geological Survey, December 2023. http://dx.doi.org/10.34191/ofr-760.
Full textAbstract:
The Browns Hole quadrangle is in Weber and Cache Counties of northern Utah and covers the eastern part of Ogden Valley, a rapidly developing area of the Wasatch Range. The Middle and South Forks of the Ogden River bisect the quadrangle and are important watersheds and recreational areas to the communities of Ogden Valley and the Wasatch Front. The towns of Huntsville and Eden are just west of the quadrangle, unincorporated communities with year-round residents are present throughout the quadrangle, and numerous summer-cabin communities are present in the eastern part of the quadrangle. A portion of Powder Mountain ski resort, which draws year-round visitation and recreation, is present in the northwest corner of the quadrangle. The quadrangle contains the Willard thrust, a major thrust fault with approximately 30 mi (50 km) of eastward displacement that was active during the Cretaceous-Eocene Sevier orogeny (Yonkee and others, 2019). In the quadrangle, the Willard thrust places Neoproterozoic through Ordovician strata in the hanging wall over a fault-bounded lozenge of Cambrian strata and footwall Jurassic and Triassic strata (see cross section on Plate 2). Neoproterozoic strata comprise a succession of mostly clastic rocks deposited during rifting of western North America and breakup of the supercontinent Rodinia (Yonkee and others, 2014). These rocks include the Cryogenian-age Perry Canyon and Maple Canyon Formations, and the Ediacaran-age Kelley Canyon Formation, Papoose Creek Formation, Caddy Canyon Quartzite, Inkom Formation, Mutual Formation, and Browns Hole Formation. The Browns Hole Formation is a sequence of interbedded volcaniclastic rock and basalt lava flows that provides the only radiometric age control in the quadrangle. Provow and others (2021) reported a ~610 Ma detrital apatite U-Pb age from volcaniclastic sandstone at the base of the formation, Crittenden and Wallace (1973) reported a 580 ± 14 Ma K-Ar hornblende age for a volcanic clast, and Verdel (2009) reported a 609 ± 25 Ma U-Pb apatite age for a basalt flow near the top of the formation. Cambrian strata in the hanging wall include a thick basal clastic sequence (Geertsen Canyon Quartzite) overlain by a thick sequence of interbedded limestone, shale, and dolomite (Langston, Ute, and Blacksmith Formations). Hanging wall rocks are deformed by Willard thrust-related structures, including the Browns Hole anticline, Maple Canyon thrust, and numerous smaller folds and minor faults. Footwall rocks of the Willard thrust include highly deformed Cambrian strata within a fault-bounded lozenge exposed in the southern part of the quadrangle, and Jurassic and Triassic rocks exposed just south of the quadrangle. The Paleocene-Eocene Wasatch Formation unconformably overlies older rocks and was deposited over considerable paleotopography developed during late stages of the Sevier orogeny. The southwest part of the quadrangle is cut by a southwest-dipping normal fault system that bounds the east side of Ogden Valley. This fault is interpreted to have experienced an early phase of slip during local late Eocene to Oligocene collapse of the Sevier belt and deposition of volcanic and volcaniclastic rocks (Norwood Tuff) exposed west of the quadrangle (Sorensen and Crittenden, 1979), and a younger phase of slip during Neogene Basin and Range extension (Zoback, 1983). Lacustrine deposits and shorelines of Pleistocene-age Lake Bonneville are present in the southwest corner of the quadrangle near the mouth of the South Fork of the Ogden River and record the highstand of Lake Bonneville (Oviatt, 2015). Pleistocene glacial deposits, present in the northwest corner of the map, are likely related to the Pinedale glaciation, commonly expressed by two moraine building episodes in the Wasatch Range (Quirk and others, 2020). Numerous incised alluvial deposits and geomorphic surfaces are present along major drainages and record pre- and post-Lake Bonneville aggradational and degradational alluvial and colluvial sequences. Mass-movement deposits, including historically active landslides, are present throughout the quadrangle. Crittenden (1972) mapped the Browns Hole quadrangle at 1:24,000 scale, which provided an excellent foundation for the general stratigraphy and structure, but the 1972 map lacked important details of unconsolidated surficial units. As part of 1:62,500 scale mapping of the Ogden 30'x60' quadrangle, Coogan and King (2016) updated stratigraphic nomenclature, revised some contacts, and added more details for surficial units. For this map, we utilized new techniques for data acquisition and analysis to delineate surficial deposits, bedrock contacts, and faults more accurately and precisely. Mapping and field data collection were largely done in 2021–2022 using a combination of GPS-enabled tablets equipped with georectified aerial imagery (U.S. Department of Agriculture [USDA] National Agriculture Imagery Program [NAIP], 2009), orthoimagery (Utah Geospatial Resource Center [UGRC] State Geographic Information Database, 2018b, 2018c; 2021a, 2021b), and lidar data (UGRC State Geographic Information Database, 2006; 2011; 2013–2014; 2018a), previously published geologic maps, topographic maps, and applications for digital attitude collection. We also used hand-held GPS units, Brunton compasses, and field notebooks to collect geologic data. Field data were transferred to a Geographic Information System (GIS), where the map was compiled and completed.